Turrentine died at a Manhattan hospital two days after suffering a stroke, said his agent, Robin Burgess. He lived in Fort Washington, Md., outside Washington, D.C.

Turrentine often blurred boundaries with his saxophone playing, mixing jazz with blues, rock, rhythm and blues and pop.

“His impact on jazz was just astonishing,” Burgess said. “He had a large impact on fusion, electric jazz and organ trio music.”

Turrentine was scheduled to perform as the headliner at the Ann Arbor Blues and Jazz Festival Saturday night.

“Obviously this is a devastating loss,” said festival president Mary Motherwell in a written statement. “We know that all of our performers from Irma Thomas to Robert Cray will pay tribute to Stanley and that his fans will join us in honoring one of the jazz world’s legendaryperformers.”

Turrentine started his career playing with Ray Charles and Max Roach. He scored his biggest hit in 1970 with “Sugar,” which became something of a jazz standard, frequently performed and re-recorded by admirers.

He grew up in Pittsburgh, surrounded by music. The piano player Ahmad Jamal lived nearby, and often visited to practice on the Turrentines’ upright piano. Stanley’s mother played piano, his father performed tenor saxophone and his brother Tommy played trumpet. The brothers played at the Perry Bar in Pittsburgh, their first professional gig, while they were still in high school, and often performed together as adults.

Turrentine began traveling with a band when he was 16, and later joined one of Charles’ early rhythm and blues groups. He played in a jazz band headed by Roach and replaced the departing John Coltrane in Earl Bostic’s band.

Turrentine went solo in the 1960s. His blues-influenced riffs brought him commercial success with albums such as Stan `The Man’ Turrentine, Up at Minton’s, and Never Let Me Go.When “Sugar” brought him fame outside the jazz world, some fellow musicians accused him ofabandoning artistry to pander to popular taste.

He said he preferred mixing genres to being boxed in by one label.

“One day, my stepson and I were alphabetizing my albums over the years, and I noticed that they categorized me as a rock and roll player on certain albums, a bee-bop player on otheralbums, a pop player, a fusion player,” he once said. “And I’m just saying … ‘Gee, I’m justplaying with different settings, but I’m still playing the same way.'”

Critics were always impressed with his skillful, impassioned performances.

“Stanley Turrentine’s tenor comes on like an athlete in top form, all vitality and disciplined muscle,” a Christian Science Monitor reviewer wrote. “Mr. Turrentine plays as though he loved the horn, as though he enjoyed every note, and as though he never could get enough.”